December 6, 2007 - The Musical Box (Live at the Vic Theatre in Chicago)

A few months ago I somehow found out that The Musical Box was coming to Chicago. I have only seen this Montreal-based band in Montreal so I could not pass up the opportunity to see them here in the Midwest. I believe this was the 8th time I've seen them perform, and I'm fairly certain that's more than I have seen any other band play in concert. It seems strange that I've seen a cover band this often.

Watcher of the Skies

But, as any of you that have seen them perform, this is not your average cover band!! They don't CRUSH me the way they used to simply because I now know what to expect and how incredibly good they are at recreating the Gabriel-era Genesis music. Nonetheless, I get great enjoyment out of seeing other people in the audience react to seeing TMB for the first time. This time was no exception as there were a couple of younger guys (maybe in their late 20s) in the front row. These guys were insane with joy, pumping their fists in the air, singing ALL the words (they knew them cold!), and air-drumming like Mark in a mostly less than perfect beat. I could not help but smile as I watched them.

This particular concert was a re-enactment of "The Black Show", a series of "Selling England by the Pound" (SEBTP) concerts that Genesis performed in North America in 1974. It had a different set and featured more focus on Gabriel's antics. Instead of the white hour-glass shaped backdrop, there were black curtains behind the stage. This made Gabriel's glowing face paint and masks stand out a bit more. I had never seen this show by TMB. I have seen them perform the Foxtrot tour, SEBTP tour (white shows), and The Lamb tour. After seeing this particular version, I must say that I still prefer the "white" SEBTP show the best. This may be because these were the first shows I saw where my mind was completely bent out of shape with awe.

I unfortunately went to this concert by myself. Colin couldn't be convinced to attend and Laurie had a business dinner to go to (at least that was her excuse!). So, even though it took me TWO hours to get there in the worst traffic of my life (DAMN!), I managed to get to the Vic Theater 10 minutes before they started. The benefit for going to the show by myself was that it was easy to find a good seat. This concert had seats but was general admission; the doors opened an hour before I got there. So, lo and behold, I was seated in the 6th row, left of center, closer than I have ever been!!!! After grabbing an obligatory, excessively priced beer, I scoped out the crowd. The graphed age of attendees was, as usual, a perfect bell curve with a median age of about 48.

It really makes you think about mortality when you realize this music is 34 years old!!!!!!!!!!!! I am ever-thankful that I had older brothers to expose me to this music at such a tender age. To this day, I remember "discovering" music when I was 12 or so, listening to such classics as 'Thick as a Brick', 'SEBTP', and 'Close to the Edge'.

But I digress...

Here is the set list that The Musical Box performed last night:

Watcher of the Skies
Dancing with the Moonlit Knight
Cinema Show
I Know What I Like
Firth of Fifth
The Musical Box
Horizons
The Battle of Epping Forest
Supper's Ready
The Knife (encore)

I will not go into the details of each song's performance but I did have some general impressions during the show. Here they are, in no particular order:

• Tony Banks is the man. His keyboard playing in this music is just unreal. I really am at a loss for words in trying to describe how his sounds and playing define a big part of my love for music to this day. Cinema Show absolutely crushed me last night.
• Steve Hackett's guitar playing was ground breaking for its time. His solo at the end of Firth of Fifth still goes down as one of the best of all time. I know Mark will agree.
• Peter Gabriel was crazy, but in a good way. I don't know if drugs contributed to his bizarre antics but his genius shines through every time. The stories he tells between songs are completely deranged.
• TMB drummer did a very good job playing the difficult Phil Collins drum parts.
• All the members of TMB are great but, for my money, the Mike Rutherford of the group stands out. I know it's hard to believe (I've always been one to rave mostly about Banks and Hackett) but last night he was on fire playing perfect bass, electric guitar, acoustic guitar, bass pedals, and singing.
• I am convinced, after seeing this band for so many years, that the song that TMB performs best is, well, The Musical Box. It is so powerful! After the lyrics, "Play me my song, here it comes again...", the band simply unleashes into blistering guitar/keyboard/drum mayhem.
• A close second to that song might be the Rutherford/Banks/Collins jam session at the end of Cinema Show (Hackett and Gabriel are off stage at this point). When you get a chance, sit down and play this song (Seconds Out version preferably). If you aren't shaking your head in astonishment, you may want to check your pulse...

But, as always, the highlight of the night for me is "Supper's Ready". As much as I hate to agree with Jeffrey, he is right about this: This is the BEST SONG EVER!!! In particular, the Seconds Out version of this song may be the single best musical recording in human history. Have I overstated it?! Maybe so but probably not. OK. So can we at least agree that it's Top 10 material, Tommy?

A Flower?!

The Grand Finale of Supper's Ready

They ended the show with a rousing rendition of "The Knife" and by this time the crowd was in a full-on lathered frenzy even here in the Midwest. The acoustics of the Vic Theatre were sublime and the fact that I had an actual seat for the show was key to my full enjoyment. Yes, the boys really put on a good show last night and I'm happy I went despite the horrendous traffic on the way into Chicago.

I don't know if I need to see this particular show again. I feel like I know it by heart. BUT, TMB apparently will be performing "A Trick of the Tail" tour next year; yet another excuse to shell out good money to go back in time and relive a little slice of musical heaven. It will be interesting to see them perform something post-Gabriel. I can't wait to hear Dance on a Volcano, Entangled, Squonk, Ripples and Los Endos.

Til next time...Slainte Mhath.

Porcupine Tree Rocks Chicago (Twice)

(Photo credit - Diana Nitschke)

On May 17th, Laurie and I attended the first Porcupine Tree show at the Park West Theater in Chicago. Unfortunately, we missed the opening of the show because the opening band started well before the start time shown on the ticket! Go figure. Needless to say, I was more than a little upset as we walked in during my favorite track from the new album "Anesthetize".

The (partial) track list for this show was:

Anesthetize

Open Car

Gravity Eyelids

Drown with Me

Blackest Eyes

Sentimental

Unknown Ballad into Sever

Way Out of Here

Sleep Together

Encores:

Even Less

Mother and Child Divided

Halo

Undoubtedly, we missed the first two tracks from the new album, the title track "Fear of a Blank Planet" and "My Ashes". What else we missed I will probably never know because on June 1st, I saw them again with Jim and they played a different set! They played the entire new album from start to finish to begin the show. Then, after a short intermission, they performed some different songs from the previous show. The set list for June 1st was:

FOABP/My Ashes/Anesthetize/Sentimental/Way Out of Here/Sleep Together

(Intermission)

Lightbulb Sun

Open Car

Hatesong

Mellotron Scratch

Drown with Me

A Smart Kid

Blackest Eyes

Trains

Encores:

Mother and Child Divided

Halo

(Jim - let me know if I missed a song but I think that's correct.)

The venue was packed for both shows and the crowd was very enthusiastic. I thought I was in Montreal for a second. There's no question that PTree is attracting a greater mix of people than your typical prog band. The ratio of men/women is still high but lower than usual, and the average age is decidedly younger. These numbers bode well for the future of the band.

For the second show, Jim and I actually managed to get seats smack dab in the middle of the theater, slightly raised above the crowd so that we had a good view and luckily very few people walked in front of us. All this with waitress service too! Shweet!

The band performed the new album really well. The title track was accompanied by the disturbing video of pills and guns and kids, oh my... But the music was fantastic and the band was "on" right from the git-go. In contrast, the 2nd track of the night, My Ashes, featured a blissfully beautiful video with time lapse video of clouds passing overhead, snowy night mountain scenes, and gorgeous nighttime skies filled with stars. The video matched the beautiful chord progressions of the song perfectly.

Then, things really kicked into high gear with the drum beats and rhythmic strumming of guitar at the beginning of Anesthetize. If you've listened to this song even a few times, you know that this all leads to a crescendo of powerful crunchy guitar and insane drum fills. This is Porcupine Tree at their finest. And this, in my opinion, is one of their finest songs to date. In typical Steven Wilson fashion, the song takes its time building and building musically, rhythmically, lyrically until it all explodes and ultimately collapses upon itself in sublime resolution. (John Wesley does an excellent job with the awesome Alex Lifeson guitar solo too.)

And played live Anesthetize does not disappoint. In fact it's better! PTree just has a way of creating strong differential between the elegant quiet parts and the blistering and powerful heavy parts, much like a symphony orchestra, which creates incredible emotion. In concert, the end of the really heavy section of the song seems like the end of the song because the crowd cheers so loudly over the transitioning quiet synths/sounds. As you begin to hear the song re-emerge from the sounds of the cheers you realize that there is no resolution yet. And this ending is what makes this song so supreme. The glimpse of hope and poetic images from previous good days makes you feel good at the end of the song. Wesley and Wilson sing magical harmonies together and pull it off really well in concert. I'm really not sure how they do it.

This leads into Sentimental which seemed a little stale in comparison. But, Wesley again proves his worth and plays some blissful guitar strumming that really carries the song to its conclusion (and yes, Jim rightly points out that part of it sounds like a section of Trains). Despite the meaning, the chorus of this song is very catchy. "...sullen and bored the kids stay, and in this way, they wish away, each day."

As I had hoped, the next song, Way Out of Here, is much better performed live than on the CD. This song also has an interesting video that accompanies it. Despite being a fairly literal translation of the lyrics of the song, the images of this beautiful young girl listening to her iPod while walking on old train tracks and standing in old rail cars somehow captured my imagination. And Gavin Harrison treats us to some of his finest drumming during the heavy portions of this song, and that's saying something!

(Photo credit - Diana Nitschke)

The closing song of FOABP is one of my favorites. Again, despite the lyrics of the song, it seems to me that this track points a bit toward what we may expect from Porcupine Tree in the future. It is the most unique song on the album with its use of keyboards and orchestra. Of course, the orchestra was not there for the concert but somehow Richard Barbieri and co. made it work.

After a short intermission, they began the 2nd half of the show with an unexpected song, Lightbulb Sun. It seems like the band must have been working for a while on this one since it seemed quite different from the CD version of the song. Steven Wilson played acoustic guitar on this one and left the electric guitar duties to Mr. Wesley. John's unique guitar solo was the highlight of the song. Wow! This guy is becoming indispensable, that's for sure!

Open Car followed Lightbulb Sun. This was the concert opener the last time I saw PTree in concert and they really know how to rip this one. It's a great live song albeit a short one.

The next selection was also from the Lightbulb Sun album. Hatesong is another song that shines in concert. It is quite different from the CD version and they have really worked out some phenomenal drum and guitar interplay toward the end of the song. If you have seen this song on the Arriving Somewhere DVD, you know how incredible this version is. To me, this was probably the highlight of the entire night along with Anesthetize. Staggering chops on full display!

The next couple songs were a disappointment to me. Mellotron Scratch was a surprise selection. With all the other great songs to choose from Deadwing, they chose this? Hmmm. Not that it's a bad song by any means but how about Arriving Somewhere, Start of Something Beautiful, Deadwing or Lazarus?!?!

The next song was "Drown with Me" which was a 'B' side from the In Absentia album. This was a nice ballad and works well live but it still was not the quality of many other PTree songs. I'm sure they enjoy playing different songs though so it's hard to fault this pick.

The next song was also a surprise to me but it's one of my sentimental favorites from the Stupid Dream album. "A Smart Kid" fit in very well with the tone of FOABP and they played it quite well too.

The first two songs of In Absentia, Blackest Eyes and Trains, rounded out the concert before the encores. They have these songs down pat and they are real crowd pleasers. Wilson joked about the infamous string-breaking incident from the Trains version on the DVD (filmed at this venue by the way). The strings held up this time.

The first encore is one of my favorite instrumental PTree tracks, Mother and Child Divided. This song is co-written with Gavin Harrison and it shows as the drums on this song are mind-boggling. It's interesting that PTree is getting a reputation for throwing in a couple songs into the live performance that are not on their albums. "So Called Friend" from the concert DVD is a GREAT song that should have been on some album!

The final song of the night was Halo. This song is, once again, better live than on the CD and seems to be an appropriate way to end the show. The whole crowd was singing the chorus with the band.

All in all, this was a great concert. Porcupine Tree proves once again that they are meant to be seen live to be fully appreciated. The nature of their music somehow lends itself to a live interpretation. This would not be the case, however, if every band member did not have the chops to pull of these songs. Of course, Gavin is one of the best drummers in the world and his presence is always strong. I find that I watch him for a good portion of the concert and not just because I play drums and like drumming. He is just that good and interesting to watch.

Colin Edwin is also simply perfect on bass and, unlike many other bass players, you can really hear his bass lines. He is not invisible like many other bass players. On the contrary, he is integral (ESPECIALLY ON HATESONG!!!! WOW!). I also continue to be impressed with John Wesley. His guitar playing is excellent - he has many of the lead parts in songs - and his vocal harmonies make the songs work well live. I always think of Richard Barbieri as the mad scientist of the group, tinkering with his myriad keyboards in subtle yet mystical ways that keep everything together and provide the solid sonic backdrop for most of the songs.

As for Steven Wilson, well, everyone knows what I think of this guy. He says he's not that talented on guitar but I beg to differ. OK, maybe technically there are better players but few who are as musical and understand songwriting like him. He plays more keyboards in concert now and his voice is better than ever. With Steven at the reins, there just seems to be no limit to what this band can pull off.

With Fear of a Blank Planet, Porcupine Tree has done it again but it must be seen in person to be fully appreciated and understood. This Chicago crowd certainly loved their concerts and I can't wait until they come back again. Maybe even twice!

Steven Wilson Interview

I stumbled upon a link to a Steven Wilson interview at DPRP (http://www.dprp.net/news/index.php?i=2007_18) web page. Just click on the blog title ("Steven Wilson Interview") above to go to the interview.

I would just like to say "I was right!" During the interview, SW admits that this album is his therapy! Look what he says about FOABP:

"Yes it's all dark and if not dark it's melancholic, so it's all on the side of melancholia, negativity, sadness, depression, loneliness. It dwells on the darker side of things so that allows me to be as a person, well I guess as a human to be a bit more positive. It's almost like an exorcism of that side of my personality." (Caerllysi Music)

In the interview he talks about the inspiration for the album. This provides a very interesting perspective that may help the listener understand his intent and make you realize he isn't so completely dismal in real life.

Oh, and by the way, just to be clear, I do love this album. And Tom, you'll be happy to know that "Anesthetize" has already reached Top 10 status! And "Sleep Together", while lyrically challenging, is a fantastic closing song and I can't wait to hear it performed live this Thursday!

Porcupine Tree - Fear of a Blank Planet (Kevin's Review)

OK. You knew it was coming, Kevin's review of the new Porcupine Tree album, "Fear of a Blank Planet" (FOABP). (Disclaimer: Please note that this review may be premature. I have not listened to the album 20 times yet and I'm still "learning" what it's all about. Yet, I feel compelled to offer some initial thoughts about the latest CD from one of the finest bands of our age.)

FOABP takes over where Deadwing left off. The band appears to be producing darker material with each new release. What is interesting about FOABP is that it really seems to be Steven Wilson's first serious attempt at a concept album. It is the type of concept album where the songs are related in topic and not a story about a particular character (like The Lamb, The Wall or Subterranea). From the title of the album one gets the impression that Steven Wilson may be concerned about the future of our planet. And sadly, it also appears that he does not see much hope for it. Even in some of the darkest and saddest writing from the band in the past, it seemed that there was a fragment of hope. Yes, the world is a mess or my life is a mess but it might work out in the end and I still have hope. FOABP holds out no hope to these ears.

Don't get me wrong, the songs on this album are captivating, brilliant and unmistakably Wilson-like throughout. There is not a weak song on this album. The sound/production/mix is uniformly excellent. Barbieri, Edwin, Harrison and Wilson play their instruments as well as ever. Guest musicians include Alex Lifeson with some fiery guitar-work on "Anesthetize" and Robert Fripp providing "soundscapes" on "Way Out of Here".

So what's wrong you ask?! Well, the focus of the album is about our drugged up youth, bored with life, obsessed with XBox, iPods and all things to do with computers/TV. The lyrics portray a lost generation of stupefied kids and parents that can't relate or don't care. And if you think the last track, "Sleep Together" has anything to do with sex well then you've been taken for a ride my friend. It has more to do with sleeping with the fishes than sleeping in a bed for some wondrous sexcapade.

Just watch the video for the title track of the album on youtube. It is shocking, graphic and all-together depressing. While musically, everything about this album is better than the song "Strip the Soul" from In Absentia, lyrically it leaves me with the same disturbed feeling. I cannot fully enjoy the great music after hearing the lyrics. I guess you have to look at it like a great but disturbing piece of literature (The Jungle?, Clockwork Orange? take your pick) written by an important artist.

My favorite track on the album is the aforementioned "Anesthetize" (Track 3 for you Mark). As you might expect, it is the longest song on the album clocking in at an impressive 17:42. Not that longer means better as a rule but it does here because it allows the song to have more changes in mood. Fantastic drumming draws you in and doesn't let go at the beginning of the song. It builds and builds to a fantastic tom-tom crescendo thanks to Mr. Harrison. Crunchy guitars by Rush's Lifeson and Wilson then take over and lead to the Porcupine Tree sound of today that sometimes borders on Scandinavian death metal (think Opeth) with deep, deep hard guitar playing and phenomenal (I expect no less) drumming with double bass runs and fills beyond belief.

The first two-thirds of the song goes up and down with intensity and excellent musical transitions characterizing the best of progressive music. As you might surmise from the song title, it again focuses on the anesthetics of our times -- pills, TV, etc. BUT, and this is why this song is my favorite on the album, the last third of the song transitions to gorgeous poetic imagery and a slower rhythm that at least hints of better days even if they are in the past. Wilson arranges more of his dreamy vocal parts with John Wesley providing harmonies (think "Heart Attack in a Lay by"!). Here are some of the ethereal lyrics that end this song:

"Water so warm that day
I counted out the waves
As they broke into surf
I smiled into the sun"

Unfortunately, this brief glimpse of hope is erased by the lyrics on the next song "Sentimental". Musically, this song is very sweet, even beautiful but the lyrics remind you that there really is no hope in the eyes of the author.

"I don't really know
If I care what is normal
And I'm not really sure
If the pills I've been taking are helping
I'm wasting my life
Hurting inside
I don't really know
And I'm not really sure...

Sullen and bored the kids stay
And in this way they wish away each day
Stoned in the mall the kids play
And in this way they wish away each day"

Maybe Jim is right. Therapy is advisable for Mr. Wilson. I guess that producing music like this provides some sort of therapeutic value for him, but it's killing me!

So, there you have it...my first impressions of the latest PTree offering. I am torn. It's a great album but still leaves me sad and unfulfilled. I certainly recommend it but just don't expect an easy listening album that will make you feel all warm and fuzzy inside.


Now pardon me while I go call my therapist...

ROSfest, Day Three

I woke up Sunday morning with some regret about the extent of our partying the night before. I should know better than to try to keep up with professionals. All I wanted to do was sleep until about 1 o'clock. But no...we had to try to see the first band of the day.

But, alas, I couldn't make it. I chose sleeping in the car and Mark managed to check out their set. Maybe Mark can write a review?

After more shut-eye, I made my way to the second show of the day, Retroheads (from Norway). I have two CDs by this band, "Retrospective" and "Introspective", both of which I really like. This has been one of my favorite new bands of the past couple years. For a change of pace, Mark and I watched their set from the balcony. It's a good and different view of the stage and the sound is just fine up there. It's also easier to see the drummer from up there.

Unfortunately, this "band" has not performed much together and that was obvious right from the git-go. The bass player is the main writer in the band and created much of the first two albums by himself. There was no denying the excitement this band felt being on stage but a foul-mouthed and excited lead singer brought great energy but it was over-the-top in an unprofessional way. He did a good job getting the audience psyched for their set but then talked too much and said goofy things. With a little tweaking though, I do think he could be a decent frontman. I think a lot of it had to do with nerves. You could just tell how nervous they all were.

Oh well, they still managed to play a few great songs or parts of songs but they also had some sound issues that detracted from their set. They started one song and the bass player appeared to have forgotten the words to the song, so they started the song over from the beginning. Ouch! But the show went on and they managed to keep the audience on their side. One of their best tracks had an unbelievably cool and unusual drum part played entirely on brushes!

With lots of practice I do think they could become a good live band but this was a poor and unprofessional performance. I was very disappointed since I really like their albums so much.

Onto a sure thing...Magic Pie. This band played the 1st slot last year and were so great on stage that ROSfest brought them back for a 3rd slot this year. Who knows? Maybe next year they will headline!

Some bands are just meant to be seen live and this band is one of them. With three guitars (two electric and one acoustic), bass, keyboard and drummer, this band provides a very full sound. Five of the six band members sing too! And can they play? As Dick Enberg would say, "Oh my!" These guys are all so talented and they play so well together. The high point for Mark and me is the lead guitarist who simply blows us away with his melodies and technically precise yet emotionally powerful playing. This guy can shred like the top tier guitarists in the world but his playing has great feel and emotion too. A simply stunning performance.

The bar had been set very high for the upcoming Spock's Beard set. Were they up to the task without Neal?!

Magic Pie Plays a Blistering Set

The Beard opened with the first track on the new album. "On a Perfect Day" has quite a bit of the sound we came to expect with Neal Morse-era SB and was a rousing opener indeed! After following this up with "In the Mouth of Madness" from possibly my favorite Beard album "Kindness of Strangers", Spock's Beard had already leapt over the high bar set by Magic Pie. It was clear.

But how was the drumming you might ask. If Nick is up front singing (and playing guitar and keyboards!), what was going on at the drum kit? Let me tell you that we witnessed one of the best drummers we've ever seen. Mark will attest to this. This guy was smaller than me with a similar bald look. My guess is that he weighed 140 lbs. How good could he be and how in the world could he be expected to play Nick's drums?

From the very beginning, I knew that we would not be disappointed. He nailed all the trademark fills with stunning aplomb. He was as quick as lightning and played so powerfully. My jaw was wide open and remained so throughout the show. I was speechless. And you knew that Nick would have to play some also and thankfully when we arrived at the venue we saw two drum kits set up. Holy crap! I haven't seen drumming like this since the Phil/Chester duets of old! These guys were really tight and it looked like they'd been playing together their entire lives.

As much as I love drums, I've never been a huge fan of the drum solo. It has to be pretty spectacular for me to enjoy it. But, drum duets are another beast entirely. Two drummers working together to create a conversation that inevitably has highs and lows, and loud and soft moments on floor toms or cymbals, can be a highlight of a concert. And Jimmy and Nick created such a highlight in this concert. I'm still shaking my head.

And the mood of the concert was varied from spectacular playing and some powerful emotional songs to the goofy antics of Ryo Okumoto. Ryo had the whole audience in hysterics when he did a little karaoke ditty in the craziest Japanese voice you can possibly imagine. It had to be pre-planned but it sure seemed spontaneous and was simply hilarious.

The guitarist, Alan Morse, has a new solo album out and the band was kind enough to let him play a track from it. The band ripped this track and it made me want to buy the album. Great guitar playing and a catchy melody. Alan's a quirky guy on stage and you never know what strange antic he will do next. But, his playing was extraordinary tonight and that was undeniable.

And how did Nick do as the frontman? He was better than I imagined possible. His voice was in great form and he was a professional showman and moved the band between tracks gracefully. He played some keyboards, guitar, drums and sang. He's an amazing talent and most importantly, his voice was just great!

And Ryo and Dave Meros (bass) were spectacular. For my money, Ryo is the most enjoyable to watch on stage (other than the drummers). He can go from quirky funny to virtuosic playing in a heartbeat.

The bulk of the show included tracks from the last two albums, "Octane" and their latest self-titled album. These songs are more straight-ahead rock than earlier Beard CDs but I think they have found a new identity now and it works, especially live. Heavy rockers including "Is this Love?" and "Surfing Down the Avalanche" were big and beautiful songs with unreal power.

These rockers were balanced with some gems from the past including "Thoughts, part 2" and "Crack the Big Sky" and then they ended the show with classics from so many years ago. "Walking on the Wind" was no doubt a highlight of the show for me as "Beware of Darkness" was the first album I ever heard from this band. The encore included a medley of songs from "The Light" including "The Water/Go the Way You Go".

Tonight, Spock's Beard impressed me a lot. I have liked this band for a long time now but incredibly I had never seen them perform live. I am here to report that they are still alive and well even without the genius talent of Neal Morse. If you ever get a chance to see them, just do it. You will not be disappointed. They shone tonight and let's hope they keep shining for many years to come. I have seen the light...

Ryo and a Tie-Dyed Alan Morse

(Thank you George and Tom for putting together a world class music festival for the deserving progressive rock community. Slainte Mhath!)

ROSfest, Saturday Night After-Party

Brigitte, John and Mark enjoying a brew at Franco's

I kinda like this photo of our Canadian friends. We were all enjoying a beer outside in downtown Phoenixville, which has really become a fun place to hang out between shows. The restaurant owner Franco was pleased as punch to have all the business and constantly mingled and joked around with the progheads.

But I would be very remiss if I did not have a blog entry for the annual party after the Saturday night concerts. It always takes place in the lower level of the Sheraton in large meeting rooms. This year, one room had an electric jam session and another room was acoustic. The highlight for us was being serenaded by one of the Magic Pie guitarists as he sang Louis Armstrong, Pink Floyd (Wish You Were Here) and a few other choice songs while strumming the acoustic guitar. What talent!

The rest of the time we spent mingling with other fans and thanking some of the bands for paying us a visit in the States. It really is a unique experience and everyone is so friendly and happy. The music played during the party really is only a small fraction of why this little party is so fun. It's a great chance to chat with other fans about their impressions of the shows and what other bands they are listening to currently.

Of course, one of my goals was to get a photograph with Nick Barrett who is one of my favorite guitarists and song writers. Meeting musicians can be a dicey thing because a bad interaction can taint your view of that artist forever. For the most part though we have had good experiences meeting the musicians at ROSfest. We had fun talking to the guys in Magenta, Satellite, and of course, everyone's favorite prog bass player, John Jowitt (not here this year). But, we could just tell that Nick Barrett was so approachable and willing to talk to his fans that I wasn't worried about asking him for a photo.

Mark, Nick and I at the After-Party

After the party in the lower level of the hotel, there is another party at a 5th floor suite reserved by Tom, one of the ROSfest organizers. Somehow, last year we got dragged up to this party and ended up talking to various fans and musicians until 6am in the morning. I would say that there are about 25 to 35 people in the room chatting about everything from the mundane to the meaning of life. There is usually some little boom box in the corner of the room playing some great prog CD I've never heard of or playing a classic like "Close to the Edge". Somehow we have become "insiders" and it's quite interesting to be thrust into this rock-and-roll party world that we don't get to see much. Sometimes it gets really loud and I have no idea how hotel management does not get complaints.

It was great talking to Jim R., the keyboardist from Iluvatar. He is another staple at these events but for some reason I have not talked to him before. The great news here is that Iluvatar is working on a new album right now and the songs are coming along nicely. It may be a while before they finish the CD but at least they are still writing music. They would be a great band to have in the 2nd or 3rd slot at this festival. Hmmm. Maybe I need to talk to George.

Jim and Lila at the After-After-Party on the 5th Floor

Long story short, we stayed way too late again this year; 5:30am or so. There would be no tennis Sunday morning. In fact, I had been looking forward to seeing Darwin's Radio, the first band on Sunday at 11am and that was looking nearly impossible. I was beat!

ROSfest, Day Two

On Saturday morning, Mark and I have a tradition of going to Dunkin' Donuts for some wake up juice, a breakfast sandwich, and a bottle of water. Then, we drive some nice winding back roads to some college tennis courts I found using Google Maps. The courts are only a couple miles from the hotel on a really nice small campus setting. We always have the 5 courts there to ourselves and have a great time actually getting some exercise before sitting in a theater for 6 hours or so.

After playing for nearly two hours, we headed to the hotel for a quick shower before making the 20-minute drive to Phoenixville. We skipped the first band of the day (Rocket Scientists) due to the tennis. If we had been in bed before 2:30pm, we might have been able to play tennis and still make it to the first concert of the day. The tennis was worth it but the reports from people were that the Scientists put on a good show.

The second band of the day was Galahad, a band from Britain. I have two CDs by this band and was looking forward to their set. Unfortunately I did not have their most recent albums even though I had read good reviews.

They started the show with a track from their just released album called "Empires Never Last". The song was called "I Could Be God" and the lead singer had Fish-like stage presence and an excellent voice, powerful with great range. From the very start, this band had me transfixed. The keyboards were techno at times (think Ultravox), which is unusual for prog bands, but they somehow added to the unique prog sound and gave them a "fresh" sound. Another great aspect of this band was that they played both heavy and hard stuff mixed with gentle and beautiful keys/guitars.

Roy Keyworth of Galahad

All in all, a fantastic performance of great songs. A highlight for me was a song called "Bug Eye" from the album "Following Ghosts". Since I have this album, I knew the song well and it is a mellow track with many changes in moods but an underlying infectious rhythm throughout. Wow.

The final song off their "Empires" album has an intriguing title called "This Life Could Be My Last". The lyrics were equally interesting and the song was intense. The lyrical tone of this band constantly reminded me of some of the best Fish/Marillion music and that is high praise. To pull it off with a sound that never sounds derivative and is clearly Galahad is all the more impressive.

If you haven't heard this band yet, I highly recommend them. I'm listening to Empires Never Last right now and I'd have to say that it's a fine place to start. These guys ripped in concert with fantastic guitars, keyboards, drums, and a lead singer that pulled it all together. To my ears, this was probably my 3rd favorite show of the weekend behind Pendragon and Spock's Beard. But, to me, it was the biggest "discovery" of the weekend and I bought 2 CDs (Year Zero and Empires Never Last) immediately after the show.

Between bands, Mark and I made our way to the vendor area and managed to get out of there with less than 10 CDs each!! We're like kids in a candy store in there. Imagine a CD store with all the music you like and much of which you don't know yet. I picked up new albums by Galahad, Daryl Stuermer, RPWL (Live), Karnataka, Chris Squire ("Fish Out of Water"!!), Fromuz, The Watch and the new Porcupine Tree, of course. Thankfully Mark pulled me out of there to get some pizza or I might still be there now! We visited Franco's Restaurant across from the theater for a quick beer and pizza outside.

The third band of the day, our second, was Carptree from Sweden. I was looking forward to their show since one of their recent CDs ("Man Made Machine") is excellent in my opinion. When they came on the stage clad in dress shirts and sport coats, I thought this could be interesting. We quickly realized that the show would be ruined by the drummer. This tattooed lug nut, wearing a muscle shirt unlike his bandmates, bashed his three (3) custom-made, 24" crash/ride cymbals as hard as he could for the better part of the 1.5 hours, completely drowning out the other instruments. I have never seen anything like it. A few songs that didn't call for his extreme services were the best songs of their set and the band does have some potential WITHOUT HIM.

(Note: Later in the evening I spoke to a drummer at the after-party who said he came to the festival in part to see Carptree and was disgusted by this drummer's display that ruined the show. This guy, who drums for Sonus Umbra and Kurgan's Bane, wanted to beat this guy up after the show! I'm not sure he was kidding either. I agreed with him too. It was infuriating. He also told me that the guy who was recording all of the shows could not even use any of the material from Carptree due to the dominance of the cymbals!)

Disappointment is to be expected at these music festivals to some degree. Usually there are some sound issues due to switching band equipment around but this was something I'd never seen before. Oh well. Pendragon was up next and I KNEW this would be good.

It has been a dream of mine, since I was first exposed to "Masquerade Overture" many years ago, to see this band perform live. A friend of ours who lives in Toronto has felt the same way. Brigitte wrote an essay to the festival organizers explaining why she wanted to introduce the band onto the stage (a fan introduces each band before they come on stage at ROSfest; it's a fun tradition). You don't know if you are selected until right before the show starts. Lo and behold, Brigitte was selected and she was thrilled to introduce her favorite prog band. It was great to see her get this opportunity.

Onto the show... They opened with one of Jim's favorite tracks, "No Place for the Innocent". From the first guitar chords to the end, this was the perfect opening track to the concert. "Do you believe in Darwin's Theory of Evolution? Do you believe in the President, the Bible, Constitution?" Great lyrics in an upbeat, driving song.

The crowd jumped out of their seats at the end of the first song. The tone of the show had officially been set and this crowd was ready to party. The 2nd track was "As Good As Gold", the opener from Masquerade. The crowd sang the chorus as it has been ingrained into their brains from many years of listening. "Guardian of My Soul" was next, one of my favorite Pendragon songs. But as good as it was, the guitar parts were not loud enough, and frustration began to creep in. Finally, after the next song, "Kowtow", Mark yelled out "Turn up the guitar!!" and this was echoed by others. Nick requested the sound guy to "get back to his post" and correct it. I was ready to go back to the sound board and tell him but I didn't want to leave my seat for a second!

Thanks to Mark the guitar levels were corrected just in time for one of my favorite tracks off "Believe": "The Wishing Well" starting with "Sou' by Sou'west" and the gorgeous guitar! And so the emotion of this show takes over. I have no idea how Nick can sing and play his intricate guitar lines at the same time. It just shows you how talented he is. Peter Gee, the bass player, also played some guitar parts and was superb as well. The guitar solo toward the end of this song nearly always brings tears to my eyes. It is just so beautiful.

Clive Nolan was in excellent form as well. Nick and Clive have been friends since they were little kids (age 4 I think) and you can just see that they are having so much fun performing together up on stage. To my ears, Clive is simply one of the best prog keyboardists in the business. He certainly is more in the background with Pendragon since this band is "Nick's baby" but his playing is still critical to the overall sound and impact.

After "The Wishing Well", the show had officially kicked into another gear. The band went on to perform flawless renditions of "The Edge of the World", "Nostradamus", "Dance of the Seven Veils" and "Paintbox"! That all led to the apex of the concert for me, which was "Breaking the Spell" and "Masters of Illusion". I can't even begin to describe the power and emotion of these two songs in concert. By this time, the crowd had completely lost it and the band had the audience in the palm of their hand. They could have played a Madonna song at this point and the crowd would have clapped along with excitement.

For the encores, they played a medley of older songs that worked well. At the end, during one of Nick's phenomenal guitar solos, he came down into the center aisle of the theater and played up close and personal. Being in the 6th row, we had a decent view of the spectacle.

What can I say? It really was a dream come true for me to see this band perform live and I told Nick this later that night. We had met Nick last year but we talked to him again this year at the after-party. He's so approachable and friendly to his fans, a truly kind and humble guy. Thanks Nick, Clive, Peter, and Joe for a show I'll never forget! (By the way, kudos to Joe on drums who was absolutely terrific!)

If it isn't obvious, this was hands down the best concert of the weekend for me. I think Mark would agree.

Nick Barrett of Pendragon

ROSfest Day One

Time for yet another Rites of Spring Festival. This is the third year in a row Mark and I have made the trip. The trip did not get off to a good start as both of us were delayed flying out of our respective cities. Air traffic control in Philly was holding up flights from all over. Mark didn't arrive until nearly 9pm from Manchester, NH! We were supposed to be on the road, headed to Phoenixville by 5pm or so. Bummer.

One good thing about arriving this late is that we did not have to fight any of the usual traffic getting out of the city. Oh well. We were here and luckily we were not missing any bands that we had been anxious to see. Arriving to the theater at about 10:30 or so, we decided to forego Starcastle and enjoy some Knight Area and Darwin's Radio from the comfort of our Mazda 5. A few Coronas later we decided to check out the last bit of the concert. Starcastle was the third band of the night and were supposed to come on stage at 9:30pm. Lo and behold, we walked into the theater and the 2nd band was still playing at about 11pm!! The festival was almost as delayed as our flights!

The second band (still on stage) was Puppet Show, a heavy progressive band from California. I like this band's music to some degree but the lead singer's voice has always been the down side for me. Nonetheless, they sounded good and were performing a decent set when they announced that this would be their final song. The song was a cover of "Cogs in Cogs" by Gentle Giant!!!!!!!!!!!!!!!!! I nearly flipped as they went into a near flawless rendition of a great track off The Power & The Glory album. My immediate thought was that Dave ought to be here!! The audience was as euphoric as me and gave them a standing ovation when it was over.

After this performance, I was hopeful that Starcastle would exceed my expectations. Starcastle is a band with origins in the 1970s and they had a couple albums that were very Yes-like. I always thought they sounded like the B- or C-sides of the Yes stuff. Oh well. Keep an open mind, right?

They came on stage just after MIDNIGHT, and Mark and I were already weary from the travel fiascoes. Unfortunately, for the most part, my expectations were spot on. It was Yes music without substance and depth. They played with great energy though and really seemed to be having fun on stage. Their performance almost made up for the sounds they were creating and the audience rewarded them, song after song, with big ovations. Clearly, much of this crowd had grown up with their music and it meant a lot to them. That was good to see. It was not a bad show but it just didn't hit me or Mark at all. That said, there were a few hints of good music here and there, especially one song with a rousing bass solo leading into an Oliver Wakeman keyboard solo (yes, that's Rick's son, Adam's brother!!). These guys were the youngest members of the band (and obviously not part of the original band) but they were the highlight of the whole performance playing with great skill.

It was bizarre to see a Wakeman playing with a Yes-like band and yet the music pales in comparison to the real thing. Nonetheless, you gotta hand it to Starcastle for their performance and still trying to put out new music (they have a recent album called "Song of Times"). It wasn't our cup of tea but it was for hundreds of others at the show.

Just before the encore (about 2pm!!), Mark and I bolted for the exit and drove directly to the hotel for some much needed sleep.

Blackfield II

Blackfield is a collaboration between Steven Wilson (no introduction needed) and Aviv Geffen. This is their second CD as you might expect from the title. If you are familiar with their first CD then this one will not be a major surprise to your ears. What you have here is great songwriting, infectious melodies, pop sensibilities and prog nuances. This is by no means a progressive rock album but it deserves to be heard and will still appeal to many progheads.

Why? Because Mr. Wilson and Mr. Geffen know how to write. It's a gift that is very evident as soon as you hear the first sounds of song #1. Everyone who knows me knows that I think Steven Wilson is the greatest musical talent of our time. He is amazingly versatile and has a seemingly endless array of ideas in his brain that somehow work no matter what style of music he is playing. He can play psychedelic, heavy progressive rock, ethereal ambient, techno, straight ahead rock, and pop with equal aplomb. Of course, the Porcupine Tree stuff is my favorite but to be able to write and play so many other styles is staggering and not something attempted by most musicians today.

And while I know Steven Wilson's discography quite well, I am less familiar with Aviv Geffen's history. I do know that he is hugely popular in other parts of the world especially in his home country of Israel. But, from his work with Blackfield I can certainly see his talent. Many of the songs on this album were written - music AND lyrics - by him.

My favorite track on the album, "This Killer", is written by Geffen. This song simply crushes me. The melancholy chord changes are stunning in their simplicity and emotional impact (Think "Dark Matter" yet mellower). Wilson's voice is in fine form and the harmonies with Geffen are meticulous. The gorgeous harmonies have become a Wilson trademark and they stand out on this song and throughout the album. So, based on the sound of this song I was surprised to find out that Geffen wrote it.

Another great track is the closer, "End of the World", also written by Geffen. As you might surmise from the title, it is not exactly an uplifting song but as Steven Wilson has said, some of the saddest songs in the world are some of the most beautiful. This song exemplifies that sentiment. Here is a sample of the lyrics from this song:

"It's the end of the world
It's a prison for dreams and for hopes
And still we believe there is god
It's the end of the world
We're dead but pretend we're alive
Full of ignorance
Fools in disguise

In your room doing nothing
But staring at flickering screens
Streets are empty
But still you can hear
Joy of children turned into tears
Disease hides around every corner
Quietly still
Wait for the moment to hit
We forgot what is touch
What to feel"

I can imagine that some of Geffen's lyrics are a result of the place he lives in this world.

The entire album is solid and, of course with Wilson in charge of the mixing and production of the disc, it sounds phenomenal. The various instruments are perfectly mixed and you can listen to whatever instrument you want during the song.

All in all, this second CD by Blackfield may be even better than their first. As a whole, it appears to work better from beginning to end. The way the songs fit together provides for a more coherent album sound.

No ratings here but the album is Highly Recommended. If you click on the "Blackfield II" title you will connect to their myspace site and can listen to a few tracks from this album (Once, Christenings, and 1000 People). I really like "1000 People". Be patient and don't expect Blackest Eyes!

You can also check out their website at www.blackfield.org

The Watch (Concert Review) by David M.

Once every five to ten years or so I find myself stumbling out of a large building mumbling about "the best concert I have ever seen." Well, it has happened yet again.

NEWEARS, otherwise known as the New England Art Rock Society hosted the event at The Brewery Exchange, in Lowell, MA. The evening began with fine dining in the restaurant on the first floor of the giant converted mill. Giant stainless steel vats of a microbrewery are centrally located in the building. The concert area was on the third floor with table seating for about 100 concert-goers…a great venue for sure!

The warm-up band was a local group called Your Move. They describe themselves as New England's premier progressive rock tribute band. Wow! These guys provided just about the most enjoyable warm-up show I've ever seen. Their whole set consisted of 70's Yes and 80's Genesis tunes. What a blast! You can check them out at: http://www.yourmovetheband.com/

On to the main event…The stage has no curtain so members of The Watch gradually took their places and became comfortable. They blasted into the intro for "Damage Mode" and I realized that Simone himself (the lead singer) was seated at the table just in front of us, poised to make his move! At the precise moment of need, he burst out of his seat grabbing the mike and casting his spell. These guys are phenomenal in concert, nearly as precise as on their studio albums.

With no letup in intensity, the second song was "Shining Bald Heads." Incomprehensible! The keyboard performance by Sergio Taglioni blew me away. We were seated close enough to see his fingers flying. So, many instruments…so many transitions. His demeanor reminded me of Richard Barbieri of PT, focused and in total control.

Next on the list was "Goddess." The driving bass of Marco Schembri was incredible. The song was so impressive that Mark A. felt compelled to make a 3-minute cell phone call to Kevin in Montana to share the euphoria! (not sure if the call got through). (It did. KM) The end of "Goddess" was marked by a short but incredible drum solo by Roberto Leoni. Suffice it to say that the baton has been passed to a new generation of "drummers phenomenale!" Maybe P. Collins has sold out, but clearly a new generation of percussionists is prepared to carry the torch. Leoni is the man!

This was followed by a most impressive (new?) song titled "Ivory" that I don't believe has appeared on any of their previous recordings. Great chord structure, unpredictable, and moving.

Then came a staggering, long piano solo by Sergio Taglioni. This guy is obviously classically trained and at this point reminded me of Rick Wakeman. Throughout the entire show he appeared to be reading much of the music off the page! This was a spellbinding performance with only Sergio on the stage.

We were then surprised by a Genesis favorite from yesteryear "Return of the Giant Hogweed." This one reminded me of the amazing performances by The Musical Box. Mark's comment was "he does Gabriel better than Gabriel!" No lie…

After a few more songs The Watch ended the performance with a long rendition of "Vacuum." All the pent up tension and anticipation inherent in this masterpiece was translated and even compounded in live performance. Near the end when the organ/strings gradually overwhelm the existing driving bass and melody it was the most I could do to stay seated…absolutely compelling, and a great final song.

The clapping of the few dozen remaining audience members was a truly feeble encore demand. They came back out quickly, realizing that a small number of fanatics were clapping really hard and we just couldn't do any better! The group finally played a couple of songs including "DNAlien" from Ghost. Superb.

Suffice it to say that Simone Rosetti is truly the mastermind of The Watch, writing all of the music, but the entire group is stacked with truly outstanding musicians. Rosetti did not resort to the costumes or makeup of Gabriel's early years with Genesis. Wearing all black, his performance was emotionally charged, and absolutely electrifying, and sometimes theatrical, lying on the stage floor for long periods during the performance. My assessment? We were watching one of the true greats of progressive rock in his early years. Sheer genius at work…

After the final song the "crowd" quickly thinned out. Within a few minutes band members began mingling with the couple dozen fans who had been blown away by the performance. Since we had just purchased the new CD (Primitive) it seemed like a perfect substrate for autographs! We were able to speak to all of the band members during the process. OK, so there was some language barrier, but they did get the idea that we really appreciated their being here. Hopefully my pronunciation of "magnifico" was adequate. I spoke to Simone, put my hand on his shoulder, looked him in the eyes and said "you guys are the gods of rock and roll!" I assumed he would recognize that line from Genesis' The Lamb.

We met one of Kevin and Mark's friends, Will, at the concert. He relayed that the previous night he had gone to a performance of The Watch in Albany, NY. Due to last minute plans and no publicity he was literally the only person in the audience! Will says they simply treated it like a practice session, playing for an hour or so. It was so good that he drove the following night to Lowell from New Haven! There's something sick about a band of this caliber getting peanuts for tickets and having miniscule audiences after traveling from Europe. Hopefully in Quebec on April 1 they will actually make some money. Tickets for that event were $40.

Jody, Kara, Mark and I ambled out into the cool night air, realizing that we had just witnessed a performance of truly epic magnitude. Ten dollar tickets. Front table twelve feet from the performers. It simply doesn't get any better than this. This was truly one for the ages. Yet another "best concert I have ever seen!"

New Not-So-Prog Ears?! (Trevor Responds)

Well Kev and Co.,

It's fairly quiet from the new sound front...(a pun?) But i do have a few new bands for you to look at. I just got back from DC yesterday; I was visiting a friend who happened to have two tickets to "The Fray"...a popular band that most of you old fogies probably don't know much about. But that doesn't mean you shouldn't!! There's a little talent there especially heard in two songs "cable car" and "how to save a life" the latter of which is the theme song to Grey's Anatomy...a show most of the readers will know VERY little about...and rightly so (you miss out on everything...even the bullets)!

Much to my surprise, however, in constitution hall that night hailing from England was a newer band known as the Feeling...think beatles with more metal and more mettle!...Okay so they don't have quite the reputation the beatles acquired, but the lead singer has more energy than a dog that chewed up a box of tripple threat power bars then downed his master's 6 pack of AMP. He jumped off a 6 foot amp while kicking the drummers symbol as he hit a power cord, a feat not performed in "The daughter's of the american revolution" ballroom since that night george W. got a lil angry at Bono. He plays guitar like a fiend live but is rather passive sounding on CD. Special songs include "never be lonely" and "Rose" pronounced "Rosé"...yes the wine...and i dunno anything about it! (it's delicious :) It is perhaps the best love song about an alcoholic beverage ever created...and yes i'm including irish songs...shiver.

But this is all not really in your listening realm, perhaps if you get an itunes music card as a gift for christmas or birthday check some of these songs out. Now for a CD actually worth its weight in silicon. "Catching without arms" by Dredg. If you can't find something on this album for you check your pulse. Number one on my long list of amicable tracks is "sangrial"...its a pretty pretty song, well sang rial well! Instrumentation, let's see, they remind me of an RPWL in their ability to find odd sounds that somehow never made it into music's mainstream. Where did they find someone to play that goofy indian instrument anyway!? The problems with this band include annoying filler material such as children laughing for 20 seconds and the like. The lead singer has a strange voice, but don't let that deter you from this band, it is good in its own way. It is still more normal than any of Peter Gabriel's pre-pubescent years (before someone finally kissed that frog and gave us good music! [may have been phil collins?? I'm sure one of you
knows!!])

But before I lose an uncle slandering some all time classics i feel i should tell you that Yes has made a return to my life here at the "greasy pole", my living quarters, as well as Jethro Tull; Furthermore, it wasn't I who let loose those two giants, but both of my roommates who performed that dirty deed for which i will be in there debt "tout le temps".

I think I'm starting to understand your "island music" selections, but don't for a minute think i'd CRASH THERE!

À bientôt,
Trevor

Lez Zeppelin (Concert Review by Jeff)

I thought it might be somewhat interesting to give a review of shows seen. Although not necessarily of the Prog nature, as that would be difficult since we don't have the opportunity to see many Prog shows, but of anything that might be of interest.

Last night Oct 28, 2006, I had the opportunity to see Lez Zeppelin, an all female tribute band to the great Rock & Roll band Led Zeppelin. I was invited by a friend who had seen the band a year ago and said they were really pretty good. I had a tough time imagining anyone, much less a girl, playing guitar anything close to Jimmy Page. I imagined they could get a vocalist that, while no one can be Robert Plant, at least would have a strong voice. I also couldn't imagine a drummer strong enough to match Bonham. As far as the bassist/keyboard player goes (and yes I'm well aware the bass player normally drives the band), I didn't know Zeppelin even had one so what's to compare.

The stage was pretty simple with the drum set consisting of a bass drum, snare, one tom tom, a high hat, one cymbal and what looked like a gong. I thought this is going to be pretty simplistic. The band comes out and my attention is immediately drawn to the Robert Plant of the group. Hmmm, didn't look like Robert Plant. At least I don't remember him with long black hair and hot! Maybe some ladies did. The, just above the navel, shirt she was wearing together with the hip hugger jeans showed a mid section I only dream about. The Jimmy Page of the group was pretty thin with long brown hair that for the most part covered her face. I had to question if it was really a guy. Her fingers were pretty tiny so I went with the female impression. The drummer was a big lady that looked like she could handle the drum set, and any, or all of the Roadies for that matter. The bass player was definitely female. I was on the side of the stage in front of the guitarist and never really paid much attention to the bass player (I can hear Kev saying, "figures").

The first set started with Immigrant Song and ended with their version of Dazed and Confused, during which the guitarist played with a violin bow. That was something I hadn't seen before. The vocalist's voice was strong and feminine. Both the vocalist and guitarist dominated the stage, and in a good way. I suppose that's what you'd expect from Zeppelin. I was psyched to see the second set and they did not disappoint. It seemed to be two steps up from the first. It could have been their song choices, but they rocked and really seemed to enjoy what they were doing. The vocalist had command of both the stage and audience when she wanted and deferred to the musicians for moments to shine. The guitarist had more than I could even speak of. Page plays such a difficult guitar. I couldn't believe how good she was. They opened the second set with two acoustical songs. There's something more intimate about 4 ladies sitting down playing and singing Kashmir. I never saw Led Zeppelin, but I think I would prefer this version. When it was the drummer's turn to shine, the treat was of course, "Moby Dick". The drummer had what seemed like the longest drum solo I'd seen. At one point, she put the sticks away and played with her bare hands. It certainly sounded like there were more pieces to her set. She played with authority and was damn good!

I recognized every song, although I could not have put titles with some of them. Dazed and Confused, Rock & Roll, Kashmir, What Is and What Should Never Be, and Your Time is Gonna Come. What really surprised me was no Stairway to Heaven. I must admit, I was looking forward to following the chord progression of the guitarist, and when the drums come into the song, it certainly is one of the great Rock & Roll songs in history.

The band is from New York City and have been together for 3 years. There's mystery as to whether the Lez stands for lesbians. There is a following of lesbians, but the members are mum. The have a don't ask don't tell policy. If I had a vote, I'd say yes to the bass player, maybe to the guitar player, I hope not to the vocalist and I pity the partner to the drummer. On the other hand, I don't care, and neither did the audience. These chicks have something going. Lez Zeppelin starts a European tour soon and I can only imagine they'll do there what The Musical Box did in Canada. Unlike the recreation of a specific Genesis concert, which musically was more a re-creation of the studio albums along with acting out Peter Gabriel's exact movements and charades, Lez Zeppelin is a band that plays Led Zeppelin's music live. They put their own touch on things. I remember the first time I saw "The Musical Box", I was able to close my eyes and put myself back in the early 70's. It was a surreal experience. This was different. There was no way to close your eyes and believe you were listening to Led Zeppelin, at least not when the vocalist was singing.

If you ever liked Led Zeppelin, or could appreciate their music, it's worth the price of admission ($10.00) in my case. Enjoy the show!

The Next Generation of Prog Ears

I notice that Trev has commented on a couple reviews now and that made me wonder what new bands he's discovered lately. Trev - maybe you could comment with a quick list of good new music you've been listening to. After all, you are helping to carry this prog torch for the next generation with an ear for the "new" sound...bands like OSI, Dead Soul Tribe, Pain of Salvation, Vanden Plas, and Opeth.

I know you don't have much spare time in college but maybe when you are procrastinating from some big Microeconomics cramming session you can jot down your discoveries and, if you're feeling really inspired, maybe even a quick review. Jim just sent me his review as a Word document and then I put it into a blog entry.

Anyway, it's good to see that other people are reading the blog. Feel free to pass on the web address to anyone you think might be interested. How 'bout big Dave D. (aka skilbarton)? The more people we can get involved with the blog the more interesting it will be.

RPWL - "World Through My Eyes" (Jim's Review)

(Warning: This review is written by a mere neophyte in the prog-sphere. Thus there will be no masterful comparisons with past artists and insightful placements in prog history so typical of my younger sib’s review. Instead, what you will get is relatively uneducated impressions, but hopefully ones that will help you appreciate what this band has to offer.)

Every now and then, you need to listen to a cd that is introspective, yet optimistic. Preaches love, kindness, openness and fulfillment, not anger, pain, sadness and angst. Then does it with the lush chords, the thematic harmony, and complexity of thought that goes into progressive music. Add LSD, and spice with Indian religious undertones, and you have RPWL’s latest effort ‘World Through My Eyes’. I have never visited Lucy in the Sky land myself, but somebody in this band must have, because this album revives the psychedelic ruminations that bubbled up through the music of Pink Floyd and the Beatles. Lyrics like “I am painting all your flowers, I'm the shadow of your dream, Who changed your opium to money, shiva calls your name, Why don't you sleep?” of the first track ‘Sleep’ or “Swimming inside nature, Diving through the flowers, Popping out at the bottom of the sea, In minutes that seem like hours” from the 5th track ‘Sea Nature’ give you the flavor. The lyrics are a trip, but to me the fun of this cd is the lush chords, often beginning with piano, adding acoustic guitar, background of drums, slowly building, building, transmogrifying with a twist into rapid warbling, spacey synth sounds and electric guitar until the neurons are all firing, and you turn the volume up until the endorphins are released, and you are completely lost, absorbed, every muscle is moving to the beat until the final concluding harmonies resolve, and fade…and fade… Could you tell I was writing that while listening to one of the tracks? Not a very scientific analysis for a scientist, huh? When you have songs like that, as you might expect, the cd grows on you with multiple listenings. I think the brain learns to anticipate the pleasure that is to come so that on second and third and tenth listenings, your brain turns on the endorphins earlier and earlier and you smile. It won’t be hard for Floyd-o-philes to gravitate to this album quickly. Floyd was probably the biggest influence in terms of style; indeed, RPWL was a cover band for PF way back. But you can definitely hear Beatle-chords and a few others that I have a hard time identifying. But with World Through My Eyes, they have certainly come into their own. Rumor has it that their previous albums were not nearly on this level. Dunno. Haven’t listened to ‘em. But if their next is on par with this, or even better, this group could become one of my top 3 or 4 prog bands. Might even make onto the desert island now!

In addition to the great synths on this cd, I really like the use of unusual sitar and bongo accompaniments sprinkled throughout. The other requisite for me to really appreciate an album is a good lead vocalist. I really like Yogi Lang’s voice; it’s right on key, expressive, and articulate. Somewhat plaintive. Gentle. As you’d expect from a somewhat spacey album, there are spaces in the music, allowing you to really hear the guitar solo, the drum solo, the synth solo, without having them drowned out in a sea of sound.

I’m not sophisticated enough to break down the rating into components (perhaps Kevin can add his own thoughts and rating here). I will say that I’ve listened to this cd more than any other cd ‘new’ to me, since December 25, 2005, when Trevor presented it to me under our Christmas tree. It is an excellent discovery. Thanks, Trev!

The Watch - "Vacuum"

My brother Dave should be writing this review but as I sit here listening to this album I can not help myself. I am compelled to write something about this band, The Watch.

As one who was at the ripe and proper age to be appreciating early ‘70s Genesis in the early ‘70s, Dave gets this album more than anyone I know. This is the album that Genesis could have made in 1975 or 1976. Instead they came out with the astounding, bizarre, crazy, and fantastic album “The Lamb Lies Down on Broadway.” This album, “Vacuum” is so close to that early Genesis period, it’s spooky. I find myself not caring that it sounds so derivative. This is music at its most progressive and artistic, and The Watch benefits from an improvement in production quality of the new century. I have always wondered what “Trespass” and “The Musical Box” would have sounded like with today’s studio technology!!!!! These albums, as absolutely mind-boggling as they are, suffer from the technology of the day.

Mark and I were fortunate enough to have seen The Watch perform this music at ROSfest last year and what a show it was. The crowd cheered with standing ovations throughout the show and you could not help but feel that this is what it might have been like to see Genesis perform Foxtrot live in the day. The band was overwhelmed by the response they received from this Phoenixville crowd. They just seemed so happy to have had this impact on U.S. soil. Mark and I were blown away with the rest of the crowd.

The lead singer’s voice is SO similar to Peter Gabriel’s early 70s voice. And in some of the passages, you can’t help but get goosebumps at the gorgeous Hackett-esque guitar parts. But, to me, an aspiring drummer, the aspect of the band that flips me out is the drumming. As anyone who knows me knows, Phil Collins is my favorite drummer of all time. But, this is where the technology of today really is apparent. The drum parts by The Watch’s drummer stand out in just the way they should. He is a percussionist extraordinaire and uses cymbals that may not have been available to Phil in the ol’ days. The drummer is, as he should be, the engine and backbone of this band but also provides the fills that send chills down my spine.

This is complex and intense music, and as such, it really demands your attention. Every time I listen to it, there are certain points in each song that I just HAVE to stop what I’m doing and listen intently. It just doesn’t matter that I can’t understand all of the lyrics without reading the booklet. They’re from Italy so what can you expect?

There are times within some of these songs that you realize that this is not quite up to the quality of the Genesis song-writing but these are far and few between so it’s easy to just be blown away. Why is there new music like this being created in this century?!?! How is this possible? The answer lies in the underlying genius of Genesis and their music. Just look at how successful The Musical Box and other Genesis cover bands are these days. They play nothing they’ve written themselves yet continue to sell out show after show after show all over the world.

But, The Watch is to be commended for creating something new in the same vein. I really don’t care that this is “derivative” or that at points you swear you are listening to a B Side from “Foxtrot” or “Selling England by the Pound”. This music will ring true for me until the day I die. Thank you to The Watch for keeping this torch lit. And burn brightly it does…

Doink Factor – 4.0 points
Sound Quality/Production – 3.0 points
Song-Writing – 2.5 points

Overall Score – 9.5 points

A Rating System

In another attempt to improve the usefulness of such subjective reviews, I will break down the rating into parts:

1) The "Doink" Factor - This is paying hommage to Peter Gluck who used the term "doink" to refer to some immediate and shocking revelation; that moment in time when you realize something and finally "get it". As an example, one time my brother Dave and I heard "He Knows You Know" while having a beer at Sugarbush midstation one April spring-skiing day. That was the first time we ever heard Fish and Marillion. Now THAT was a doink! Tom and I also shared a monstrous doink while listening to Fish singing "Misplaced Childhood" while sitting in his old Toyota wagon. In this rating system, it will rank the overall "Wow" factor. I have had major Doinks more recently listening to Sylvan and Riverside. (4 Possible Points)

2) Sound Quality/Production - This one may be obvious but I feel it is worth singling out because there are phenomenal albums that have mediocre sound quality and there are albums with superb sound quality that leave you wanting. (3 Possible Points)

3) Song-Writing - This one is a little tricky to define but is some way of rating the arrangement; the actual structure of the songs. Sometimes songs seem to be too long or the ending doesn't work (e.g., a fade-out when there should have been a quick, big Dave Dery ending). Sometimes songs meander without a clear path. (3 Possible Points)

4) Overall Score - Add up the points from each category. There are a total of 10 points possible. I made the Doink Factor worth more since I think it's the most important factor. Of course, this can be altered or tweaked but I will list these factors and the overall score at the end of my subjective review.